M  T 
930 

Psych 

3   107    7b2 


i 


'■■  .    ■ 


DEPARTMENT  OF  THE  INTERIOR 
BUREAU  OF  EDUCATION 


BULLETIN,  1917,  No.  49 


MUSIC  IN  SECONDARY  SCHOOLS 


A  REPORT  OF  THE  COMMISSION  ON  THE  REORGANIZATION 

OF  SECONDARY  EDUCATION,  APPOINTED  BY  THE  NATIONAL 

EDUCATION  ASSOCIATION 


PREPARED  BY 

WILL  EARHART 

CHAIRMAN  OF  THE  COMMITTEE  ON  MUSIC 
AND 

OSBOURNE  McCONATHY 

CHAIRMAN  OF  THE  SUBCOMMITTEE  ON  THE 
COURSE  OF  STUDY  IN  MUSIC 


WASHINGTON 

GOVERNMENT  PRINTING  OFFICE 

1918 


DEPARTMENT  OF  THE  INTERIOR 

BUREAU  OF  EDUCATION 


BULLETIN,  1917,  No.  49 


MUSIC  IN  SECONDARY  SCHOOLS 


A  REPORT  OF  THE  COMMISSION  ON  THE  REORGANIZATION 

OF  SECONDARY  EDUCATION.  APPOINTED  BY  THE  NATIONAL 

EDUCATION  ASSOCIATION 


PREPARED  BY 

WILL  EARHART 

CHAIRMAN  OF  THE  COMMITTEE  ON  MUSIC 
AND 

OSBOURNE  McCONATHY 

CHAIRMAN  OF  THE  SUBCOMMITTEE  ON  THE 
COURSE  OF  STUDY  IN  MUSIC 


WASHINGTON 

GOVERNMENT  PRINTING  OFFICE 

1918 


IV  3 

L  BRAKY 


ADDITIONAL  COPIES 

nilS  PUBLICATION  MAY  BE  PROCURED  FROM 
THE  SUPERINTENDENT  OF  DOCUMENTS 
GOVERNMENT  PRINTING  OFFICE 
WASHINGTON,  D.  C. 

AT 

5  CENTS  PER  COPY 
V 


CONTENTS. 

Page. 

Letter  of  transmittal . 5 

Preface 7 

Members  of  the  committee  on  mnsic 8 

Reviewing  committee  of  the  commission 8 

Report  of  the  committee  on  music 11 

I.  The  value  of  music  as  a  high-school  subject 11 

II.  Three  types  of  pupils 14 

III.  Music  opportunities  recommended  for  each  type  of  pupils 13 

IV.  Required  versus  elective  attendance  at  chorus  classes 16 

V.  Music  courses  recommended 18 

1.  Chorus    singing 10 

2.  Orchestra 22 

3.  Glee  clubs 28 

4.  Music  appreciation 24 

5.  Theory  of  music -0 

G.  Applied  music,  or  school  credit  for  outside  work 2S 

VI.  A  plan  for  crediting  outside  study   in  music  under  private  in- 
struction   3Q 

VII.  Credits  for  music  in  secondary  schools 32 

VIII.  Music  for  boys'  high  schools 34 

IX.  Music  for  girls'  high  schools '. : 36 

X.  The  high  school  as  a  center  for  community  music 36 

Reports  of  the  Commission  on  the  Reorganization  of  Secondary  Educa- 
tion   37 

3 


449007 


LETTER  OF  TRANSMITTAL. 


Bureau  of  Education, 
Washington,  January  ££,  1918. 
Sir:  Probably  no  subject  taught  in  our  public  high  schools  has 
greater  practical  and  cultural  value  than  music  when  it  is  well 
taught,  but  unfortunately  it  is  too  often  not  taught  at  all,  and  in 
those  schools  in  which  it  is  taught  the  purpose  is  frequently  mis- 
understood, the  methods  false,  and  the  content  trivial.  It  is  there- 
fore very  fortunate  that  the  Commission  on  the  Reorganization  of 
Secondary  Education  appointed  by  the  National  Education  Associa- 
tion, with  which  commission  this  bureau  is  cooperating,  has  included 
this  subject  in  its  list  of  studies.  The  report  on  music  in  secondary 
schools  has  been  prepared  by  Will  Earhart,  director  of  music  in  the 
public  schools  of  Pittsburgh,  and  Osbourne  McConathy,  of  the  school 
of  music  of  Northwestern  University,  assisted  by  other  members 
of  the  committee  on  music,  given  in  full  in  the  body  of  the  report. 
I  recommend  that  this  report  be  published  as  a  bulletin  of  the  Bureau 
of  Education. 

Respectfully  submitted. 

P.  P.  Claxton, 

Commiss  loner. 
The  Secretary  of  the  Interior. 

5 


PREFACE. 


In  preparing  this  report,  two  large  aims  have  been  consistently 
held  by  the  committee.  The  first  was  to  prepare  a  platform  suffi- 
ciently broad  for  all  proper  phases  of  musical  activity,  however  di- 
verse, found  in  the  high  schools  of  the  United  States.  The  second 
aim  was  to  provide  practical  help  for  administrative  problems,  by 
presenting,  in  some  detail,  plans  that  in  nature  and  number  are  suffi- 
cient to  fit  a  great  variety  of  conditions.  Failure  to  provide  such 
specific  recommendations  might  make  the  report  barren  of  results. 
On  the  other  hand,  failure  to  declare  a  basis  of  educational  belief 
might  tend  to  encourage  practices  that  would  grow  in  precision 
rather  than  in  breadth. 

.  In  formulating  the  report  the  first  step  was,  therefore,  to  con- 
struct a  platform  of  educational  belief  with  regard  to  music.  This 
was  prepared  in  1913,  was  submitted  to  each  member  of  the  com- 
mittee, was  approved  by  the  committee,  and  was  published  by  the 
United  States  Bureau  of  Education.1 

In  1914,  the  chairman  of  the  committee  appointed  a  subcommittee 
consisting  of  Osbourne  McConathy,  chairman,  Edward  B.  Birge,  and 
Karl  W.  Gehrkens,  to  construct  detailed  plans  for  the  study  and 
administration  of  courses  in  high-school  music.  The  findings  of 
Mr.  McConathy's  subcommittee  are  embodied  in  this  report. 

The  specific  suggestions  given  should  not  blind  the  teacher  to  the 
fact,  often  repeated  or  implied,  that  appreciation,  not  proficiency  in 
technical  accomplishment  of  any  kind,  is  the  large  aim  of  instruc- 
tion in  music  in  high  schools.  Whatever  the  knowledge  or  abilities  to 
be  gained,  the  spirit  of  music  should  unfailingly  be  present,  to  liber- 
ate the  mind,  broaden  the  horizon,  quicken  the  mental  grasp,  and 
give  to  the  facts  the  musical  application  and  significance  that  alone 
confer  upon  them  any  claim  to  value.  Sensitiveness  to  aesthetic 
values  for  the  sake  of  the  enrichment  and  elevation  of  the  quality 
of  human  life  which  such  response  brings  is  the  large  result  to  be 
attained. 

This  report  has  been  approved  by  the  committee  on  music  and  the 
reviewing  committee  of  the  Commission  on  the  ^Reorganization  of 
Secondary  Education.     This  approval  does  not  commit  every  member 

i  Bulletin  41  for  1913  of  the  United  States  Bureau  of  Education,  entitled  "The  Reor- 
ganization of  Secondary  Education,"  pp.  66-75. 


8  music  in  secondary  schools. 

of  these  committees  individually  to  every  statement  and  every  im- 
plied educational  doctrine.  It  does,  however,  mean  essential  agree- 
ment with  the  general  recommendations. 

Will  Earhart, 
Chairman,  committee  on  music. 

Clarence  D.  Kingsley, 
Chairman  of  the  commission. 


THE  COMMITTEE  ON  MUSIC. 

Will  Earhart,  director  of  music,  public  schools,  Pittsburgh,  Pa.,  chairman. 

Ralph  L.  Baldwin,  supervisor  of  music,  Hartford,  Conn. 

E.  B.  BLrge,  supervisor  of  music,  Indianapolis,  Ind. 

Hollis  E.  Dann,  Corned  University,  Ithaca,  N.  Y. 

Charles  H.  Farnsworth,  Oi Gambia  University,  New  York,  N.  Y. 

C.  A.  Fullerton,  State  Normal  School,  Cedar  Falls.  Iowa. 

Karl  W.  Gehrkens,  Oberlin  College,  Oberlin,  Ohio. 

Henrietta  Baker  Low,  Peabody  Conservatory,  Baltimore.  Md. 

Osbourne  McConathy,  school  of  music,  Northwestern  University,  Evanston,  111. 

W.  Otto  Miessner,  State  Normal  School,  Milwaukee,  Wis. 

Mrs.  Gertrude  B.  Parsons,  director  of  music,  Los  Angeles,  Cal. 

Charles  I.  Rice,  supervisor  of  music,  Worcester,  Mass. 

Elsie  M.  Shaw,  supervisor  of  music,  St.  Paul,  Minn. 

THE    REVIEWING   COMMITTEE   OF   THE   COMMISSION    ON 
THE   REORGANIZATION   OF  SECONDARY   EDUCATION. 

Chairman  of  the  Commission  and  of  the  Reviewing  Committee: 

Clarence  D.  Kingsley,  State  high-school  inspector,  Boston,  Mass. 
Members  at  large: 

Hon.  P.  P.  Claxton,  United  States  Commissioner  of  Education,  Washing- 
ton, D.  C. 

Thomas   H.    Briggs,    associate   professor   of  education,    Teachers    College, 
Columbia  University,  New  York  City. 

Alexander  Inglis,  assistant  professor  of  education,  in  charge  of  secondary 
education,  Harvard  University,  Cambridge,  Mass. 

Henry  Neumann,  Ethical  Culture  School,  New  York  City. 

William  Orr,  senior  educational  secretary,  International  Y.  M.  C.  A.  Com- 
mittee, 104  East  Twenty-eighth  Street,  New  York  City. 

William  B.  Owen,  principal,  Chicago  Normal  College,  Chicago,  111. 

Edward  O.  Sisson,  president,  University  of  Montana,  Missoula,  Mont. 

Joseph  S.  Stewart,  professor  of  secondary  education.  University  of  Georgia, 
Athens,  Ga. 

Milo  H.  Stuart,  principal,  Technical  High  School,  Indianapolis,  Ind. 

H.  L.  Terry,  State  high-school  inspector,  Madison,  Wis. 


MUSIC    IN   SECONDARY    SCHOOLS.  9 

Chairmen  of  Committees: 

Organization  and  Administration  of  Secondary  Education— Charles  Hughes 
Johnston.1 

Agriculture — A.  V.  Storm,  professor  of  agricultural  education,  University  of 
Minnesota,  St.  Paul,  Minn. 

Ancient  Languages— Walter  Eugene  Foster,  Stuyvesant  High  School,  New- 
York  City. 

Art  Education — Henry  Turner  Bailey,  dean,  Cleveland  School  of  Art,  Cleve- 
land, Ohio. 

Articulation  of  High  School  and  College— Clarence  D.  Kingsley,  State  high- 
school  inspector,  Boston,  Mass. 

Business  Education — Cheesman  A.  Herrick,  president,  Girard  College,  Phila- 
delphia, Pa. 

English — James  Fleming  Hosic,  Chicago  Normal  College,  Chicago,  111. 

Household  Arts — Amy  Louise  Daniels,  University  of  Wisconsin.  Madison, 
Wis. 

Industrial  Arts— Wilson  H.  Henderson,  extension  division,  University  of 
Wisconsin,  Milwaukee,  Wis. 

Mathematics — William  Heard  Kilpatrick,  associate  professor  of  education, 
Teachers  College,  Columbia  University,  New  York  City. 

Modern  Languages — Edward  Manley,  Englewood  High  School,  Chicago,  111. 

Music— Will  Earhart,  director  of  music,  Pittsburgh,  Pa.    ' 

Physical  Education — James  H.  McCurdy,  director  of  normal  courses  of 
physical  education,  International  Y.  M.  C.  A.  College,  Springfield,  Mass. 

Sciences — Otis  D.  Caldwell,  director,  Lincoln  School,  and  professor  of  edu- 
cation, Teachers  College,  Columbia  University,  New  York  City. 

Social  Studies — Thomas  Jesse  Jones,  United  States  Bureau  of  Education, 
Washington,  D.  C. 

Vocational  Guidance — Frank  M.  Leavitt,  associate  superintendent  of  schools. 
Pittsburgh,  Pa. 

1  Deceased,  Sept.  4,  1917. 
22S490— 18 2 


MUSIC   IN  SECONDARY  SCHOOLS. 


I.  THE  VALUES  OF  MUSIC  AS  A  HIGH=SCHOOL  SUBJECT. 

(A)    GENERAL  STATEMENT. 

The  qualities  of  thought  and  feeling  out  of  which  good  music 
springs  are  altogether  desirable.  They  reflect  a  desire  for  beauty; 
they  reveal  the  spirit  of  man  in  profound  and  universal  relations 
and  impulses.  In  common  "with  the  other  arts  and  literature,  music 
tends  to  develop  finer  subjective  life  in  the  individual. 

Where  instruction  in  music  is  not  primarily  vocational  or  profes- 
sional, the  aim,  conscious  or  unconscious,  should  be  such  subjective 
influence.  A  course  in  music  that  does  not  promise  in  due  season  and 
proper  degree  to  adjust  the  learner  in  sympathetic  response  to  the 
best  music  of  the  world  is  lacking  in  its  proper  quality,  whatever 
marks  of  efficiency  it  may  show. 

The  late  Mr.  W.  S.  B.  Mathews  distinguished  three  appeals  that 
music  makes:  The  first  to  the  ear,  as  "purified,  crystallized  sound," 
a  sensuous  beauty  which  every  musician  demands  always ;  the  second 
an  appeal  to  the  mind,  depending  upon  memory,  attention,  percep- 
tion of  the  relation  of  part  to  part,  as  balanced,  and  beautiful  tonal 
discourse ;  the  third  the  appeal  to  the  soul,  as  expressing  mood,  state 
of  feeling,  emotion. 

Children  in  the  elementary  schools  should  be  taught  to  value  beauty 
of  tone  and  to  secure  it  in  their  singing,  both  for  the  sake  of  their 
musical  taste  and  for  correct  use  of  their  own  voices.  Their  short 
songs  should  have  grace  of  melody  and  simple  perfection  of  form, 
revealing  grace  and  clarity  of  musical  thinking.  These  qualities  are 
desirable  as  musical  experience  and  may  also  consciously  be  analyzed 
and  valued.  The  songs  used  will  necessarily  have  also  mood,  or  at 
least  color;  but  the  moods  should  be  childlike,  and  should  not  attempt 
to  cover  the  entire  range  of  moods  which  the  music  of  the  masters 
expresses.  Many  of  these  must  remain  uncomprehended  until  the 
individual  approaches  maturity.  Technically  the  pupil  should  learn, 
by  the  end  of  the  eighth  year,  almost  all  elementary  theory,  and  be 
able  to  sing  at  sight  fluently  and  in  parts  simple  hymn  tunes,  and  to 
sing  with  enjoyment,  after  some  practice,  a  number  of  the  easier 

11 


12  MUSIC   IN    SECONDARY   SCHOOLS, 

choruses  from  operas  and  oratorios,  as  well  as  some  comparatively 
elaborate  art  songs  and  part  songs. 

Up  to  the  ninth  rear  the  public-school  pupil's  approach  to  music 
has  necessarily  been  largely  that  of  song.  Recently  much  use  has 
been  made  of  the  phonograph  and  other  mechanical  players  in 
broadening  and  enriching  the  pupil's  appreciation,  but  even  when  the 
approach  is  thus  broadened,  the  pupil  can  not  by  the  end  cf  the 
eighth  year  attain  an  adequate  understanding  of  the  great  works  that 
crown  the  heights  of  musical  expression.  The  musical  forms  used 
in  the  larger  part  of  the  pupil's  instruction  are,  until  the  end  of  this 
period,  too  simple  to  present  very  elaborate  thematic  development, 
and  the  amount  of  technical  proficiency  to  be  gained  is  too  great  to 
leave  time  for  conscious  consideration  of  larger  art  values,  even  in 
those  phases  that  might  be  deemed  appropriate  to  the  child  before 
adolescence. 

What  practical  and  desirable  developments  then  remain  for  the 
higli  school?  Before  entering  upon  the  answer  it  is  well  to  note  what 
does  follow  in  many  high  schools,  namely,  nothing  but  a  continued 
exercise,  slightly  extended,  of  the  degree  of  power  gained  by  the 
pupil  in  the  first  eight  school  years. 

If  we  would  have  an  adult  public  interested  in  and  appreciative 
of  the  great  music  of  the  masters,  we  must  have  instruction  in 
advanced  phases  of  music.  This  instruction  is  appropriate  and 
practicable  in  high  schools,  and  to  them  properly  belongs  the  task  of 
articulating  the  music  in  the  elementary  schools  with  the  enlightened 
musical  understanding  and  interest  of  the  community. 

The  values  of  music  as  a  high-school  subject  may  be  stated  as 
follows : 

(B)   STATEMENT  OF  VALUES. 

1.  Its  (esthetic  nature  and  value. —  (a)  The  endeavor  to  create 
beauty  has  ever  been  a  part  of  the  life  of  man.  In  tone,  as  in  other 
media,  he  has  wrought  unceasingly  to  express  his  vision  of  values 
that  transcend  the  circumstantial  and  the  utilitarian  and  reach  up- 
ward toward  the  absolute.  The  elevation  of  mood,  the  purified  dis- 
cernment, and  the  heightened  spiritual  energy  which  accompany  all 
aesthetic  experience  give  it  a  value  which  mankind  has  long  recog- 
nized. 

(&)  Music  characteristically  deals  with  broad  fundamental  moods 
rather  than  with  specific  experience,  gives  voice  to  subjective  revela- 
tion rather  than  objective  delineation.  Because  it  does  this  it  appeals 
to  that  which  is  profound  and  universal  in  human  nature.  It  is 
more  than  a  figure  of  speech  to  call  it  "  the  universal  language." 

(c)  While  iu  the  vocal  forms,  particularly  in  opera,  and  in  cer- 
tain instrumental  forms,  music  may  link  itself  to  incident  and  cir- 


MUSIC   IN    SECONDARY   SCHOOLS.  13 

cumstance,  and  intensify  the  emotional  aspects  of  human  life,  it 
inevitably  transcends  incident  and  circumstance  in  that  its  tone  and 
the  progress  of  the  tonal  design  add  idealistic  beauty  to  what  other- 
wise would  be  realistic  description. 

(d)  In  music,  then,  the  depths  of  man's  emotional  nature  are 
reached,  are  quickened,  and  are  made  articulate.  The  committee 
believes  that  such  intensification  of  feeling  tends  to  energize  the 
individual  toward  action,  and  that  aesthetic  elevation  of  feeling  tends 
to'  lift  the  plane  of  any  resultant  action. 

(e)  The  effect  of  music  is  realized  in  a  peculiarly  vital  way  when 
the  individual  himself  takes  part  in  the  performance.  Ensemble 
music,  both  vocal  and  instrumental,  hence  has  very  great  value  in 
the  high  school. 

2.  Its  value  as  a  socializing  force. —  (a)  Music  has  been  called 
tk  the  most  social  of  all  the  arts."  Few  other  experiences  so  quickly 
bring  about  "group  feeling"  as  ensemble  singing  or  playing.  One 
careless  or  indifferent  performer  may  affect  the  beauty  of  an  entire 
rendition.  The  individual's  speedy  appreciation  of  this  fact  should 
at  least  help  in  teaching  him  the  lesson  of  the  interdependence  of 
social  relationships. 

(b)  Music  is  one  of  the  joys  of  social  intercourse.  To  take  part 
in  the  choral  society  of  one's  city,  to  play  in  the  orchestra,  to  be 
one  of  the  audience  at  concerts  or  other  musical  affairs,  to  contribute 
to  the  music  of  one's  church,  and  last,  but  by  no  means  least,  to 
cultivate  music  in  the  family  circle — all  of  these  things  mean  hap- 
piness and  enrichment  of  life. 

(c)  Study  of  the  music  of  other  times  and  other  peoples,  involving 
as  it  does  a  study  of  the  related  political  and  social  development  of 
the  peoples  of  many  lands;  the  study  of  the  many  influences  which 
have  affected  the  development  of  music,  and  the  many  ways  in  which 
music  itself  has  affected  world  development;  the  study  of  the  lives 
and  works  of  the  great  composers  as  men  of  high  ideals  and  great 
achievement — all  of  this  should  result  in  a  wider  appreciation  of 
the  worth  of  artistic  achievements  and  of  the  peoples  who  have  made 
these  achievements,  and  a  broadening  of  the  student's  interests  and 
sympathies  to  include  forms  of  talent  and  kinds  of  endeavor  which 
he  might  otherwise  hold  in  small  regard. 

(d)  Musical  performances  undoubtedly  bring  as  many  people  to- 
gether as  any  single  agency,  and  music  in  this  way  also  may  be  a 
valuable  asset  in  the  civic  life  of  the  community.  There  are  many 
individualists  in  every  community,  and  if  music  has  the  power  to 
imbue  these  persons  with  social  consciousness  and  thus  make  them 
over  into  a  more  useful  type  of  citizen,  then  surely  we  have  here  a 
social  force  of  much  importance. 


14  MUSIC   IK   SECONDARY   SCHOOLS. 

3.  Its  value  in  the  worthy  use  of  leisure.— (a)  Our  discussion  of 
the  value  of  music  as  a  subject  lias  implied  that  music  was  significant 
in  its  recreational  aspects.  More  specific  attention  should  perhaps  be 
directed  to  the  fact  that,  as  modern  industrial  conditions  seem  to  be 
demanding  shorter  and  shorter  days  of  labor,  the  exceedingly  com- 
plex sociological  problem  looms  up  as  to  the  disposal  to  be  made  of 
the  increasingly  longer  periods  of  leisure.  These  longer  periods  of 
leisure  should  be  so  utilized  as  to  uplift  and  not  degrade  the  in- 
dividual. Music  is  one  of  the  most  potent  and  one  of  the  most  avail- 
able agencies  for  bringing  about  such  an  end.  The  power  of  music 
in  this  respect  is  greatly  increased  when  the  individual  himself  takes 
part  in  a  musical  performance,  even  if  only  on  a  plane  of  amateur 
proficiency. 

4.  Its  value  as  a  vocational  subject. — Music  has  great  value  as  a 
high-school  subject  from  a  vocational  standpoint.  An  army  of  per- 
sons are  engaged  in  the  musical  profession  in  this  country,  and  ap- 
proximately six  hundred  million  dollars  are  spent  annually  for 
musical  performances  and  in  musical  education.  This  money  is  going 
more  and  more  to  native-born  teachers  and  performers.  The  number 
of  high-school  graduates  who  do  more  or  less  of  vocational  work  in 
music  is  quite  comparable  to  the  number  engaged  in  many  other  occu- 
pations. Yet,  ample  and  relatively  lavish  provision  is  often  made  by 
the  school  authorities  for  other  forms  of  vocational  instruction  and 
only  meager  provision,  if  any,  is  made  for  instruction  in  music,  even 
instruction  that  might  be  considered  prevoeational.  Music  should  be 
recognized  as  an  important  vocational  subject,  and  reasonable  pro- 
vision for  vocational  training  in  it  should  be  made  by  high  schools. 

II.   THREE  TYPES  OF  PUPILS. 

In  relation  to  their  attitude  toward  music,  high-school  pupils  may 
be  classified  under  three  general  headings : 

1.  The  little  interested  and  the  nonm-usical  pupils.— Probably  the 
largest  number,  especially  under  present  conditions,  consist  of  pupils 
who  are  little  interested  in  music.  Under  this  group  might  be  in- 
cluded also  those  pupils  who  take  no  interest  in  music,  in  whose 
families  music  lias  had  no  part,  who  consider  themselves  as  lacking 
both  in  musical  talent  and  in  ability  to  enjoy  music.  The  relative 
number  of  such  pupils  depends  on  many  influences.  In  some  com- 
munities almost  all  the  high-school  pupils  are  interested  in  music 
and  enjoy  taking  part  in  it.  In  other  communities  only  a  few  show- 
any  desire  to  participate.  The  high  school  can  not  altogether  offset 
the  other  influences  of  the  community,  but  it  can  take  its  share  in 
improving  conditions.  The  question  as  to  whether  chorus  singing 
should  be  required  of  all  pupils  or  should  be  elective  will  be  treated 
in  a  subsequent  section  of  this  report. 


MUSIC   1ST   SECONDARY   SCHOOLS.  15 

s  2.  The  interested  but  not  particularly  talented  pxipils. — In  every 
school  there  are  many  pupils  who,  although  not  possessed  of  much 
musical  talent  and  without  a  desire  to  perfect  themselves  as  per- 
formers either  for  their  own  pleasure  or  as  a  vocation,  nevertheless 
take  an  interest  in  this  subject  and  wish  to  know  much  about  it  in  a 
somewhat  particular  way.  Such  students  like  to  listen  to  music  and 
wish  to  heighten  their  powers  of  enjoyment  through  the  study  of  it. 
3.  The  talented  pupils.— The  group  of  pupils  to  whom  music  is  an 
important  part  of  life  includes  those  who  are  preparing  to  follow 
music  as  a  vocation  and  those  who  intend  to  become  skilled  amateurs. 
Those  who  are  preparing  for  vocational  work  have  as  much  right  to 
consideration  as  the  students  who  are  preparing  for  other  lines  of 
work.  But  there  will  always  be  pupils  who  are  interested  in  develop- 
ing their  musical  talents  to  the  highest  possibilities  as  a  matter  of 
culture,  and  these  also  deserve  consideration. 

HI.    MUSIC    OPPORTUNITIES    RECOMMENDED    FOR    EACH    TYPE    OF 

PUPILS. 

1,  For  the  first  type  of  pupils. — For  the  pupils  who  have  only 
slight  interest  in  the  subject,  the  high  school  should  offer  courses 
in  chorus  singing.  Although  called  chorus  singing,  its  real  purpose 
should  be  to  awaken  a  keener  interest  in  music  and  a  truer  apprecia- 
tion of  it.  This  should  be  effected  not  only  through  participation  in 
singing,  but  also  by  presenting  as  much  music  as  practicable  for 
the  pupils  to  hear.  This  would  include  performances  by  the  talented 
pupils  of  the  school  before  the  assembly,  performances  by  outside 
musicians,  and  selections  upon  mechanical  musical  instruments  (talk- 
ing machines,  player  pianos,  etc.).  The  degree  of  choral  excellence 
to  be  expected  from  the  class  will  depend  upon  previous  training, 
the  time  given  to  the  assembly,  and  the  proportionate  number  of 
pupils  interested  in  the  subject.  In  some  schools,  for  example,  it 
would  be  wise  to  hold  assemblies  for  the  contemplation  of  music 
not  oftener  than  once  a  week,  and  then  not  longer  than  15  minutes. 
In  such  schools  greater  attention  should  be  paid  to  the  organization 
of  elective  chorus  classes  and  glee  clubs  for  the  pupils  who  are  in- 
terested in  singing.  In  other  schools  it  may  be  possible  to  have  the 
chorus-singing  classes  one  or  two  full  periods  a  week,  and  to  attain 
considerable  proficiency  in  chorus  singing.  In  these  schools  the 
glee  clubs  would  probably  be  smaller  in  numbers  and  would  empha- 
size the  highest  degree  of  chorus  performance. 

In  schools  where  the  practice  of  elective  chorus  singing  is  fol- 
lowed, it  is  recommended  that  no  less  than  15  minutes  per  week  be 
given  to  the  consideration  of  music  by  all  the  school,  either  as  a 
whole,  where  assembly  space  is  sufficient,  or  in  groups  where  the 
assembly  hall  is  small.    The  elective  chorus  classes  under  these  con- 


16  MUSIC    IN   SECONDARY    SCHOOLS. 

ditions  would  devote  their  attention  more  particularly  to  the  de- 
velopment of  excellence  in  chorus  performance. 

2.  For  the  second  type  of  'pupils. — For  those  pupils  who  are  in- 
terested in  the  subject  of  music,  but  have  no  particular  desire  to 
pursue  the  study  exhaustively,  the  following  studies  are  recom- 
mended : 

(1)  Chorus  singing,  either  required  or  elective.     (When  elective 

the  plan  of  general  assembly  for  music  is  recommended.) 

(2)  Music  appreciation,  elective. 

(3)  Theory  of  music,  elective. 

(4)  Glee  clubs,  elective. 

It  may  be  difficult  to  draw  the  line  between  pupils  in  this  class  and 
pupils  in  the  other  classes  enumerated.  Such  a  line,  however,  is  not 
essential,  for  if  the  subjects  are  offered,  the  pupils  themselves  will 
determine  the  amount  of  work  that  they  desire. 

3.  For  the  third  type  of  pupils. — For  talented  pupils  the  school 
should  offer: 

(1)  Chorus  singing,  required  or  elective.     (If  elective  the  plan  of 

assembly  music  is  recommended.) 

(2)  Orchestra,  elective. 

(3)  Glee  clubs,  elective. 

(4)  Music  appreciation,  elective. 

(5)  Theory  of  music,  elective. 

(6)  Applied  music  (specialized  training  in  vocal  or  instrumental 

performance),  elective. 
It  is  the  purpose  of  this  report  to  suggest  the  type  of  work  and 
the  amount  to  be  covered  in  each  of  these  subjects. 

IV.  REQUIRED  VERSUS  ELECTIVE  ATTENDANCE  AT  CHORUS 
CLASSES. 

1.  Considerations  favoring  chorus  singing  as  an  elective. — (a)  The 
pupil  who  shows  no  aptitude  for  music  or  pleasure  in  it  might  better 
be  giving  his  time  to  some  other  subject  which  is  of  more  immediate 
interest  and  importance  to  him. 

(b)  The  pupil  who  has  no  musical  ability  can  contribute  little  or 
nothing  to  the  value  of  the  chorus  class.  Indeed,  even  if  he  does  his 
best  he  may  injure  rather  than  help  the  general  effect. 

(c)  The  presence  in  the  chorus  class  of  pupils  who  are  not  in- 
terested in  the  subject  adds  immeasurably  to  the  difficulties  in  dis- 
cipline, thus  not  only  making  the  work  harder  for  the  instructor,  but 
affecting  unfavorably  the  enjoyment  and  profit  derived  by  the  other 
pupils. 

2.  Considerations  favoring  chorus  singing  as  a  requirement. —  {a) 
While  many  people  go  through  life  without  a  taste  for  music  or  any 
pleasure  in  it,  the  large  majority  of  people  come  eventually  to  realize 


MUSIC    IN    SECONDARY   SCHOOLS.  17 

that  with  a  little  more  opportunity  for  musical  culture  in  their  earlier 
years,  or  a  little  more  attention  to  the  subject  on  their  own  part,  they 
would  be  capable  of  a  finer  enjoyment  and  pleasure  in  music.  This 
country  is  full  of  adults  who  express  regret  at  lack  of  opportunity 
for  music  study  or  attention  to  music  when  they  were  young.  The 
fact  that  a  young  boy  states  that  he  does  not  care  for  music  does  not 
mean  that  he  will  never  care  for  it.  At  the  time  of  adolescence  the 
youth  is  very  likely  to  disclaim  an  interest  in  anything  savoring  of 
the  real  emotional  spirit  of  that  period  of  his  life.  In  some  com- 
munities the  tradition  prevails  that  music  is  not  a  manly  subject, 
and  many  a  boy  who  may  at  heart  be  sincerely  fond  of  it  does  not 
admit  this  fondness.  The  fact  that  a  pupil  comes  from  an  unmusical 
family  does  not  prove  that  he  can  not  learn  to  enjoy  music,  for  in- 
stances are  daily  met  of  music-loving  people  who  sprang  from  fami- 
lies where  music  was  not  cultivated.  It  is  indeed  a  bold  person  who 
would  predict  that  any  individual  will  never  respond  to  the  appeal 
of  music.  The  time  devoted  to  chorus  singing  is  very  slight,  and 
the  contemplation  of  beautiful  music  for  the  few  minutes  a  week  for 
which  the  subject  is  assigned  could  not  seriously  affect  the  student's 
standing  in  his  other  subjects.  Even  for  those  who  may  not  ulti- 
mately become  musical  the  time  involved  is  very  slight.  We  do  not 
deny  the  sight  of  the  masterpieces  of  art  to  pupils  who  show  no  apti- 
tude for  drawing;  we  should  not  deny  beautiful  music  to  those  who 
show  no  aptitude  for  singing. 

(b)  The  fact  that  a  pupil  can  contribute  little  to  the  artistic  effect 
of  the  chorus  is  not  a  matter  of  primary  importance,  because  the 
object  of  public-school  music  is  not  the  development  of  the  chorus 
so  much  as  the  development  of  the  individuals  who  form  the  chorus. 
Although,  of  course,  it  is  desired  that  the  chorus  singing  shall  be  of 
as  great  excellence  as  it  is  possible  to  make  it,  even  the  finest  high- 
school  choruses,  when  compared  with  the  great  choral  bodies  of  the 
world,  are  necessarily  of  inferior  artistic  merit.  The  pupil  may  con- 
tribute little  to  it.  Indeed,  he  may  even  affect  the  performance  un- 
favorably, but.  on  the  other  hand,  the  chorus  may  contribute  much 
to  him.  It  hardly  seems  right  that  a  pupil  should  be  denied  the 
advantages  of  attendance  at  the  chorus  period  because  his  contribu- 
tion is  slight.  Is  not  the  object  of  school  life  to  learn  and  to  develop, 
and  would  not  the  exclusion  of  those  who  are  not  prepared  to  con- 
tribute to  the  school  work,  carried  logically  into  all  the  classes, 
exclude  the  very  people  for  whom  the  school  life  is  most  valuable 
and  necessary? 

(c)  The  objection  to  required  attendance  from  the  standpoint  of 
discipline  is,  in  many  respects,  of  real-  importance.  High  schools 
which  are  weak  in  musical  development  or  in  administrative  control 

22840°— 18 3 


18  MUSIC    IN    SECONDARY    SCHOOLS. 

oft'en  fail  in  their  music  because  the  attitude  of  one  group  of  pupils 
prevents  successful  effort  by  the  others.  The  inattention  of  these 
pupils  often  drives  the  instructor  to  methods  which  prevent  the 
chorus  practice  from  becoming-  really  educational  to  those  who  are 
naturally  interested  in  it.  Making  a  compromise  is  often  the  only 
recourse  of  the  instructor,  for  until  his  work  is  supported  by  the 
enlightened  interest  of  the  school  and  community,  lack  of  discipline 
may  be  a  matter  not  only  beyond  his  own  control,  but  in  many  in- 
stances beyond  that  of  even  the  principal  of  the  school. 

To  meet  the  problem  of  discipline  four  suggestions  are  offered : 

First.  The  plan  of  student  government  may  offer  a  solution  of 
the  present  problem.  At  any  rate,  the  need  for  better  discipline  in 
the  chorus  class  in  some  schools  may  seem  an  added  reason  for  the 
wider  adoption  of  the  plan. 

Second.  When  there  is  much  difficulty  in  discipline  the  chorus 
might  be  divided  into  smaller  classes  so  as  to  conform  more  nearly  to 
class  conditions  in  other  subjects,  in  which  case  the  instructor  might 
be  expected  to  handle  his  class  as  other  teachers  do. 

Third.  Schools  which  have  not  developed  the  tradition  that  music 
is  a  desirable  feature  for  all  may  find  a  temporary  period  of  en- 
couraged election  to  chorus  practice  a  helpful  measure  before  insti- 
tuting required  attendance. 

Fourth.  Probably  the  most  natural  remedy  that  suggests  itself 
for  unsatisfactory  conditions  is  that  in  a  school  where  such  conditions 
exist,  the  burden  of  the.  chorus-class  discipline  should  not  be  placed 
entirely  upon  the  shoulders  of  the  instructor,  but  that  he  should 
have  the  assistance  of  other  teachers  in  that  work. 

3.  Conclusions. — Where  the  music  interest  is  great,  the  committee 
recommends  required  chorus  attendance.  Where  the  music  interest 
is  slight  it  may  be  wiser  to  have  elective  chorus,  but  to  require  at- 
tendance upon  a  weekly  musical  assembly.  Furthermore,  where  the 
interest  is  slight,  and  the  singing  ability  weak,  greater  proportionate 
time  should  be  spent  upon  the  development  of  musical  appreciation 
and  less  upon  an  effort  at  securing  excellence  in  choral  performance. 
Finally,  it  is  recommended  that  where  the  chorus  singing  is  weak 
the  glee  club  membership  should  be  large,  and  where  the  chorus 
singing  is  good,  membership  in  the  glee  club  should  be  restricted  and 
a  superior  type  of  performance  required. 

V.  MUSIC  COURSES  RECOMMENDED. 

Not  all  high  schools  will  find  it  practicable  to  offer  all  the  follow- 
ing courses.  To  do  so  involves  an  elaborate  organization  and  equip- 
ment. Where  a  choice  must  be  made,  local  conditions  must  largely 
determine   the  selection.     The  committee    recommends  that   in   no 


MUSIC   IN    SECONDARY    SCHOOLS.  19 

case  should  chorus  singing  be  omitted  and  also  urges  the  importance 
of  the  orchestra.  The  practicability  of  introducing  the  elective 
studies  depends  largely  upon  the  availability  of  a  competent  in- 
structor and  the  possibility  of  scheduling  classes. 

1.   CHORUS  SINGING. 

This  course  should  be  offered  to  pupils  of  all  years.  Although 
in  the  smaller  high  schools  it  is  not  practicable  to  divide  the  chorus 
according  to  years  in  the  school,  in  the  larger  schools  such  division  is 
preferable. 

In  interest  and  articulation  with  the  earlier  experience  of  the 
pupils,  chorus  practice  appeals  especially  to  students  in  the  earlier 
years  of  high-school  life ;  but  in  respect  to  voices,  these  years  are  un- 
fortunate for  many  pupils,  and  a  wise  selection  of  music  material 
within  a  limited  range  is  therefore  necessary.  A  careful  and  fre- 
quently repeated  examination  should  be  made  of  each  individual 
voice  and  each  pupil  should  be  judiciously  assigned  to  the  appropriate 
vocal  part. 

In  the  upper  classes,  the  voices  being  more  mature,  the  pupils  are 
able  to  undertake  a  higher  type  of  music,  involving  not  only  a 
greater  degree  of  experience  in  chorus  singing  but  also  heavier  re- 
quirements for  the  voices.  By  separating  the  chorus  classes,  as  sug- 
gested, it  is  possible  to  develop  chorus  practice  from  a  type  of  music 
easily  understood  and  enjoyed  by  the  immature  singers  to  a  type  of 
artistic  music  requiring  a  considerable  grasp  of  structure,  thematic 
development,  and  musical  content. 

In  the  largest  four-year  schools  it  is  desirable  to  plan  at  least  four 
choruses.  In  the  medium-sized  four-year  high  school  a  good  plan 
would  be  to  have  one  chorus  of  students  in  the  junior  and  senior 
years,  a  second  chorus  composed  of  sophomores,  and  a  third  chorus 
of  freshmen.  In  the  junior  high  school  the  division  of  the  chorus 
will  be  affected  by  the  vocal  conditions  in  the  school.  In  some  com- 
munities the  children's  voices  change  earlier  than  in  other  communi- 
ties. Where  the  voices  change  early  it  might  be  preferable  to  have 
the  eighth  and  ninth  }^ear  students  come  together  for  a  chorus  period, 
the  seventh-year  students  forming  a  chorus  of  their  own,  or  continu- 
ing their  music  studies  in  separate  classes.  Where  practicable  it 
would  be  wise  to  have  the  seventh-year  boys  whose  voices  have 
changed  participate  in  the  chorus  work  of  the  upper  division,  so  that 
the  singing  of  the  seventh-year  chorus  would  be  of  music  for  un- 
changed voices  only.  On  the  other  hand  in  cities  where  voices  change 
late,  it  may  be  wiser  to  plan  a  chorus  composed  of  seventh  and  eighth 
year  pupils  and  an  advanced  chorus  of  pupils  of  the  ninth  year  only, 
but  those  pupils  of  the  seventh  and  eighth  years  whose  voices  have 


20 


MUSIC    IN    SECONDARY    SCHOOLS. 


changed  should  sing  with  the  upper  chorus.  The  senior  high  school, 
in  the  six-year  plan,  might  have  one  chorus  of  the  entire  school,  or  a 
chorus  consisting  of  tenth-year  students  and  another  of  eleventh  and 
twelfth  year  students,  or  three  choruses  of  pupils,  one  for  each  year. 

In  the  four-year  high  school  the  work  of  the  different  choruses,  as 
previously  suggested,  should  be  sharply  denned.  In  the  lower  years 
stress  should  be  laid  on  the  two  points;  first,  the  use  of  music  as  a 
means  for  emotional  expression,  and  second,  the  development  of  a 
more  intelligent  understanding  of  the  way  music  is  constructed. 

Mere  efficient  conquering  of  one  song  after  another,  with  no 
thought  for  comparative  musical  merit,  should  not  constitute  the 
practice.  Correct  use  of  the  voice  and  intelligent  phrasing  and 
interpretation  of  music  should  be  the  rule.  Further,  if  the  pupils 
are  "not  yet  proficient  in  sight  singing  and  thoroughly  well  informed 
in  elementary  theory,  these  should  be  taught  in  connection  with 
chorus  work.  If,  however,  high-school  standards  which  imply  such 
abilities  have  been  reached,  the  incidental  study  should  consist  of 
music  appreciation.  Structural  features  of  the  songs  should  be 
pointed  out  and  some  knowledge  of  musical  form  should  be  gained. 
Motivation,  the  phrase,  sequences  should  be  studied.  Some  knowl- 
edge of  the  composers  should  be  acquired,  and  the  use  of  selections 
from  operas,  oratorios,  or  cantatas  should  be  made  the  occasion  for 
study  of  these  forms.  Every  effort  should  be  made  to  broaden  the 
musical  horizon  of  the  student  through  the  medium  of  his  interest 
and  participation  in  chorus  work. 

In  chorus  practice  in  the  eleventh  and  twelfth  years,  the  voices 
being  more  mature,  the  collateral  lines  of  study  should  be  different. 
Continuation  of  the  incidental  music  appreciation  recommended  in 
connection  with  ninth  and  tenth  year  chorus  practice  is  advised. 
An  invaluable  further  activity  is  learning  and  performing  some 
suitable  standard  choral  work  every  semester  by  the  school  chorus, 
assisted  by  excellent  soloists  and  accompanied  by  a  large  orchestra. 
No  surer  means  can  be  found  to  place  the  pupil  in  sympathetic  rela- 
tion to  the  advanced  musical  interests  in  his  community. 

In  the  six-year  plan  the  work  of  the  seventh  year,  especially 
where  many  of  the  voices  are  unchanged,  should  be  devoted  pri- 
marily to  a  "  rounding  up  "  of  the  technical  work  of  sight  reading. 
This  does  not  mean  that  the  technical  work  should  be  taken  to  the 
exclusion,  or  even  to  the  detriment,  of  the  emphasis  that  should  be 
placed  upon  the  aesthetic  elements  of  music.  On  the  contrary, 
through  every  exercise  and  song  the  students  should  be  led  to 
realize  the  joy  of  singing.  But  it  means  that  the  music  material 
should  be  selected  to  round  out  a  complete  knowledge  of  the  tech- 
nical problems  involved  in  sight  reading.     The  advanced  chorus  in 


MUSIC   IN    SECONDARY    SCHOOLS.  21 

junior  high  schools,  that  is,  the  chorus  in  which  changed  voices 
appear  should  emphasize  the  points  already  mentioned  in  the  four- 
year  plan;  namely,  the  study  of  music  as  an  expression  of  emotional 
qualities,  and  the  development  of  part-singing.  In  the  senior  high 
school  of  the  six-year  plan,  where  chorus  singing  is  divided  into 
two  choruses,  the  younger  choruses  should  emphasize  the  topics 
already  mentioned  for  the  younger  choruses  in  the  four-year  plan, 
and  the  older  chorus  the  topics  mentioned  for  the  third  and  fourth 
years  of  the  four-year  plan. 

In  choosing  material  for  chorus  singing  it  should  not  be  for- 
gotten that,  although  music  may  ally  itself  with  sentiments  of  re- 
ligion, patriotism,  love  of  home,  and  so  forth,  and  although  it  should 
never  ally  itself  with  less  worthy  associations,  it  is  not  to  be  valued 
because  of  such  alliance.  Music  is  essentially  tone  and  tonal  dis- 
course and  is  beautiful  as  music  in  proportion  to  the  beauty  of  tone, 
the  beauty  of  the  tonal  procedure,  and  the  beauty  and  nobility  of 
mood  out  of  which  it  sprang.  Music,  in  short,  need  express  musical 
thought  only.  Until  this  is  admitted,  understanding  of  musical 
beauty  as  a  thing  in  itself  can  not  be  undertaken.  Certain  old  melo- 
dies, saved  from  extinction  in  the  first  instance  by  alliance  with 
a  text  of  value,  and  at  present  by  tradition  and  many  hallowed 
associations,  should  be  preserved  so  long  as  their  appeal  remains 
and  while  their  use  is  not  wholly  perfunctory. 

While  chorus  singing  naturally  must  be  the  most  general  and  the 
basic  music  activity  in  a  public  school  system,  wise  administration  in 
this  work  is  more  necessary  than  in  any  other  branch  of  music  study 
in  order  to  obtain  breadth  of  musical  interest  and  understanding  on 
the  part  of  the  students.  It  is  possible  for  a  pupil  to  sing  during 
his  entire  high-school  term  the  sort  of  songs  that  are  sometimes  sung; 
study  them  in  the  manner  in  which  they  are  sometimes  studied,  and 
come  forth  at  the  end  of  the  course  as  remote  from  understanding 
and  enjoyment  of  a  Beethoven  symphony  or  sonata  as  if  he  had  no 
such  practice.  Not  only  does  the  comparative  emphasis  usually 
given  the  subject  and  text  of  songs  divert  attention  from  purely 
musical  values,  but  the  physical  exhilaration  of  singing  may  readily 
be  mistaken  for  enjoyment  of  music.  Further,  the  songs  may  be 
selected  because  of  their  appropriateness  to  certain  occasions,  such 
as  class  days,  field  days,  arbor  days,  patriotic  festivals,  etc.,  and  in 
such  case  musical  merit  usually  has  to  be  sacrificed  or  subordinated. 

Finally,  the  committee  would  again  emphasize  its  belief  that  the 
chorus  class  is  primarily  for  the  development  of  a  higher  under- 
standing and  appreciation  of  music,  and  that  the  chorus  music  should 
be  the  chief  material  for  the  development  of  this  appreciation.  The 
chorus  class  is  the  occasion  for  bringing  the  large  student  body  into 


22  MUSIC   IN    SECONDARY   SCHOOLS. 

contact  with  musical  literature,  and  the  instructor,  in  his  desire  for 
excellence  of  performance,  should  never  lose  sight  of  the  main  object 
of  the  course. 

2.   ORCHESTRA. 

This  study  should  be  offered  in  all  the  years  of  the  high  school, 
both  in  the  four-year  plan  and  in  the  six-year  plan.  In  the  latter 
case  it  would  be  wise  to  plan  two  orchestras,  a  junior  and  a  senior 
orchestra,  the  one  serving  as  a  feeder  to  the  other.  When  the  high- 
school  course  is  four  years  in  length,  a  grammar-school  orchestra  is 
desirable  for  the  purpose  of  developing  the  younger  material  for  the 
advanced  orchestra  of  the  high  school. 

The  musicianship  that  results  naturally  from  ensemble  playing  is 
more  advanced  than  that  which  arises  naturally  from  ensemble 
singing.  More  hours  of  practice  and  preparation  are  necessary  be- 
fore successful  participation  is  possible;  the  expression  of  the  musi- 
cal thought  or  impulse  is  less  direct  than  in  singing  and  becomes  a 
matter,  therefore,  of  greater  reflection ;  the  mechanical  nature  of  the 
medium  of  expression  makes  sight  reading  and  a  knowledge  of  staff 
notation  more  exact;  the  number  and  diversity  of  the  orchestral 
parts — diversity  in  pitch,  tonal  quality,  and  rhythmic  procedure — 
make  the  whole  a  richer  complex  than  chorus  work  presents;  and 
this  complexity  and  variety  have  attracted  composers  to  orchestral 
expression  for  their  greatest  works.  Nevertheless,  the  course  in 
orchestra  must  be  thorough  and  well  organized  to  attain  its  best 
ends.     The  following  recommendations  are  therefore  urged : 

First.  The  instruments  should  be  played  in  the  manner  of  their 
solo  capacities,  the  ideals  of  chamber  music,  and  the  refined  treatment 
of  each  part  in  a  symphony  orchestra  being  ever  kept  in  mind. 

Second.  Music  should  be  selected  that,  however  easy,  still  recog- 
nizes these  particular  values  for  each  and  every  instrument. 

Third.  The  orchestra  should  be  considered  an  orchestral  class  or 
orchestral  study  club  primarily,  and  a  factor  for  the  diversion  of  the 
school  only  incidentally. 

Fourth.  Each  student  should  be  provided  with  an  orchestra  part 
for  home  study,  and  should  be  expected  to  prepare  his  music  between 
the  dates  of  the  orchestral  rehearsals.  This  requirement  is  especially 
important  where  school  credit  is  given  to  members  of  the  orchestra. 

Fifth.  Instruments  should  be  bought  by  or  for  the  school,  to  re- 
main school  property,  and  should  be  loaned,  under  proper  restrictions, 
to  students  who  will  learn  to  play  them.  Instruments  such  as  the 
double  bass,  timpani,  French  horn,  oboe,  and  bassoon  should  be 
bought.    Only  by  such  means  can  orchestral  richness  and  sonority  be 


MUSIC    IN    SECONDARY    SCHOOLS.  23 

secured,  the  real  idiom  of  the  orchestra  be  exemplified,  and  advanced 
orchestral  literature  be  made  practicable  to  the  students. 

An  increasing  number  of  publishers  are  issuing  music  for  amateur 
orchestras,  and  music  simple  enough  for  high  schools  may  be  easily 
secured.  The  difficulty  lies  in  finding  music  of  the  right  character, 
because  simple  music  generally  is  popular  rather  than  educationally 
valuable.  Although  it  would  be  unwise,  with  the  average  high -school 
orchestra,  to  insist  that  all  the  music  be  of  a  severe  nature,  and 
although  a  certain  kind  of  good  music  of  the  lighter  character  is 
desirable  both  for  the  pleasure  of  the  performers  and  for  certain 
occasions,  most  of  the  music  should  be  of  a  nature  that  will  develop 
a  higher  appreciation  of  good  music. 

Interest  is  increasing  in  the  development  of  high-school  bands,  and 
in  a  number  of  cities  much  interest  in  music  has  been  created  among 
the  boys  in  this  way.  In  general,  the  organization  and  conduct  of  a 
high-school  band  should  be  along  the  lines  recommended  above  for 
a  high-school  orchestra. 

3.  GLEE  CLUBS. 

Glee  clubs  of  boys,  glee  clubs  of  girls,  and  glee  clubs  of  mixed 
voices  may,  under  some  conditions,  be  desirable.  In  the  larger 
schools  there  are  always  students  who  wish  to  join  these  special  mu- 
sical organizations.  In  schools  where  attendance  on  the  chorus  classes 
is  required,  glee  clubs  are  especially  desirable,  because  they  afford 
the  better  singers  the  opportunity  for  a  finer  type  of  chorus  work 
than  is  possible  in  large  classes.  Under  such  conditions  it  is  usually 
desirable  to  have  the  boys'  glee  club  and  the  girls'  glee  club  act  as 
"  feeders  "  to  the  senior  organization,  which  should  be  a  glee  club  of 
mixed  voices. 

A  question  arises  whether  or  not  credits  should  be  offered  for  par- 
ticipation in  these  clubs.  Some  teachers  believe  that  all  school  work 
should  receive  school  credit,  and  the  glee-club  practice  coming,  as  it 
usually  must,  outside  of  school  hours,  is  as  worthy  of  school  credit 
as  other  school  activities.^  Other  teachers  prefer  not  to  offer  school 
credits  for  work  in  the  glee  clubs,  but  to  make  participation  an 
honor  and  the  work  of  the  club  a  pleasure  for  the  more  musical  stu- 
dents. As  no  outside  practice  or  home  study  is  necessary,  these 
teachers  contend  that  the  honor  and  pleasure  should  be  sufficient  in- 
centive for  membership  in  the  clubs.  The  decision  of  the  question  of 
giving  credit  for  glee  club  membership  must  rest  with  the  adminis- 
trative officers  of  the  high  school,  and  this  decision,  in  turn,  must  be 
influenced  by  the  type  of  work  done  by  the  glee  club  and  its  value  in 
any  particular  school  measured  in  comparison  with  the  number  and 
value  of  other  music  courses  for  which  credit  is  given  in  the  school. 


24  MUSIC   IN    SECONDARY    SCHOOLS. 

4.   MUSIC    APPRECIATION. 

The  development  of  music  appreciation  recommended  in  con- 
nection with  chorus  practice  was  incidental,  the  intention  being  to 
prevent  an  entirely  undiscriminating  and  unappreciative  attitude 
toward  music  in  its  "  absolute "  phases.  Such  study  could  not  be 
thorough,  even  if  it  were  desired  to  make  it  so,  for  the  forms  pre- 
sented are  in  the  main  comparatively  short,  are  all  vocal,  and  pre- 
sent the  easier  works  of  a  limited  number  of  composers  only,  and 
these  probably  in  vitally  altered  transcriptions  and  arrangements. 
A  strong  course  of  study  of  great  musical  literature  should  therefore 
be  offered.  This  is  continually  growing  more  practicable  because 
of  improvements  in,  and  the  increasing  use  of,  mechanical  instru- 
ments for  reproducing  such  music,  as  the  player  piano,  the  talking 
machine,  and  the  player  organ.  With  the  help  of  any  or  all  these 
and  the  assistance  of  local  musicians,  vocal  and  instrumental,  in  ad- 
dition to  what  the  class  and  the  teacher  can  provide,  working  as  a 
chorus  and  also  in  solo  capacities,  a  course  such  as  that  outlined  in 
the  following  paragraphs  can  be  presented  more  or  less  exhaustively 
and  with  results  of  inestimable  value  in  the  education  of  the  stu- 
dents. 

Music  appreciation  as  a  thorough  intensive  study  of  musical  form, 
history,  biography  of  musicians,  and  aesthetics  of  music  is  particu- 
larly appropriate  for  the  last  two  years  of  high  school,  as  prior  to 
these  years  the  mature  quality  of  thought  and  feeling  in  great  music 
is  largely  incomprehensible  to  any  but  the  exceptional  boy  or  girl.  A 
music  experience  and  a  technical  foundation  that  can  be  gained  only 
in  the  ninth  and  tenth  years  are  also  necessary.  Two  years  of  chorus 
practice,  such  as  was  outlined,  or  two  years  of  harmony  or  of  orches- 
tra are  therefore  recommended  prior  to  undertaking  a  thorough 
course  such  as  is  here  implied. 

Ninth  and  tenth  year  pupils,  and  more  infrequently  seventh  and 
eighth  year  pupils,  have  nevertheless  made  excellent  progress  in 
music  appreciation.  The  content  of  such  courses,  however,  should 
be  different  from  the  content  of  courses  for  older  pupils.  In  ex- 
planation of  the  difference,  it  may  be  helpful  to  distinguish  between 
musical  experience  for  the  pupil  and  analysis  of  that  experience 
and  the  making  of  generalizations  from  it.  The  course  for  eleventh 
and  twelfth  year  pupils  should  be  rich  in  musical  experience.  These 
pupils  should  hear  a  vast  amount  of  classical  music,  and  a  broad  and 
searching  study  of  musical  art  from  various  illuminating  view- 
points should  be  based  upon  that  experience.  Younger  pupils  should 
unquestionably  be  offered  a  similar  rich  musical  experience;  and  this 
should  be  adapted  to  their  years,  in  part  by  the  selections  ef  music, 
but  more  especially  with  regard  to  the  amount  and  nature  of  the 


MUSIC   IN   SECONDARY   SCHOOLS,,  25 

analysis  and  contributory  study  conducted  upon  the  basis  of  the 
musical  experience  gained. 

There  is,  therefore,  need  for  different  grades  of  work  designated 
as  music  appreciation.  These  grades  may  extend  from  the  mere  hear- 
ing of  music,  with  little  or  no  comment  or  study,  to  a  form  of  lesson 
in  which  the  discussion  and  study  range  over  the  further  fields  of 
musical  knowledge  and  criticism. 

A  lesson  would  be  pointless,  however,  if  it  developed  no  comment 
or  stimulation  to  at  least  some  study.  On  the  other  hand,  it  would 
be  inimical  to  the  value  of  the  course  in  early  years  to  require  an 
amount  of  study  that  would  be  equivalent  to  the  preparation  of  a 
lesson.  In  the  tables  at  the  end  of  this  report  the  subject  of  music 
appreciation  is,  therefore,  listed  for  earlier  high-school  years  as  well 
as  later  years.  But  the  amount  of  credit  recommended  in  the  earlier 
years  is  only  half  that  recommended  in  the  later  years,  the  recita- 
tions in  the  early  years  being  classified  as  unprepared.  The  com- 
mittee wishes  to  emphasize,  however,  that  no  such  lesson  should  be 
totally  lacking  in  intellectual  address.  The  mind  of  the  student  will 
weary  of  a  formal  series  of  recitations  that  hold  no  intellectual  con- 
tent, and  continue  to  address  only  his  imagination  and  emotional 
receptiveness. 

The  courses  of  any  grade  in  music  appreciation  are  essentially 
courses  in  intelligent  listening  to  music.  While  they  are  valuable 
to  those  who  are  looking  forward  to  a  deeper  study  of  music,  they 
should  be,  as  far  as  possible,  of  a  nontechnical  nature,  so  that  pupils 
who  are  not  planning  technical  music  study  may  have  the  oppor- 
tunity to  cultivate  discriminating  powers  of  musical  enjoyment. 
The  course  is  best  planned,  therefore,  through  the  selection  of  a  large 
number  of  compositions  as  subject  matter.  These  compositions 
should  be  chosen  primarily  because  of  their  intrinsic  musical  worth 
and  secondarily  because  they  illustrate  the  several  viewpoints  along 
which  the  pupils'  attention  is  to  be  directed  during  the  listening  les- 
son. These  viewpoints  may  be  classified  as  follows:  Musical  form, 
history,  biography  of  musicians,  and  aesthetics. 

Other  considerations  in  the  selection  of  music  compositions,  espe- 
cially for  an  advanced  course,  are  as  follows: 

(1)  They  should  represent  a  large  number  of  master  composers, 
ancient  and  modern,  in  so  far  as  the  works  of  these  masters  engage 
the  attention  of  the  world  to-clay;  (2)  they  should  represent  all 
important  media  of  expression,  as  piano,  orchestra,  chorus,  sole  voice, 
solo  instruments,  chamber  music,  ensembles,  etc;  (3)  they  should  rep- 
resent all  varieties  of  form,  as  the  song  forms,  sonata  form,  rondo, 
etc.,  and  the  opera,  oratorio,  cantata,  mass,  etc. ;  (4)  as  representing 
either  a  composer  or  a  form  or  style,  they  should  be  characteristic  of 


26  MUSIC   IX    SECOXDAEY    SCHOOLS. 

that  composer  or  that  form  or  style  at  his  or  its  best  and  most  indi- 
vidual moments. 

While  all  the  important  elements  in  a  musical  composition  should, 
in  advanced  study,  be  briefly  noticed  as  the  work  is  performed  for  the 
students,  the  course  should  be  planned  so  that  certain  special  con- 
siderations are  uppermost  in  the  students'  minds.  To  this  end  it  is 
suggested  that  in  the  eleventh  year  the  students'  attention  be  called 
particularly  to  the  structural  elements  of  a  composition,  and  that  in 
the  twelfth  year  the  historical  and  biographical  viewpoints  should  be 
emphasized.  At  all  times  the  aesthetic  qualities  of  the  composition 
should  be  brought  to  the  students'  attention  and  should  be  empha- 
sized in  the  lesson. 

The  lecture  method  with  library  reference  is  recommended,  as  text- 
books of  the  exact  kind  needed  are  hardly  to  be  found.  Where  pos- 
sible, reports  of  concerts  attended  should  be  a  feature  of  the  work. 

5.  THEORY  OF  MUSIC. 

Under  this  heading  is  included  not  only  elementary  theory,  but 
harmony,  and  it  may  be,  counterpoint.  The  subject  of  elementary 
theory:  that  is,  the  tonal  and  rhythmic  elements  of  music  and  their 
representation,  may  well  be  stressed  in  the  seventh,  eighth,  and  pos- 
sibly the  ninth  year. 

(at)  Elementary  theory. — Classes  in  elementary  theory  are  particu- 
larly appropriate  for  the  eighth  year  in  junior  high  schools,  and 
occasionally  for  seventh  year.  Where  the  study  of  sight  reading  has 
not  been  satisfactorily  mastered  in  the  grammar  schools,  the  study  of 
elementary  theory  may  well  become  a  part  of  the  work  of  the  chorus 
classes  in  any  of  the  high-school  years.  With  adolescent  pupils, 
however,  the  study  of  technical  music  is  preferably  conducted  in 
smaller  classes,  where  the  feeling  of  individual  responsibility  can  be 
developed  and  maintained.  Under  the  heading,  elementary  theory, 
is  included  the  study  of  the  notation  of  the  tonal  and  rhythmic  ele- 
ments of  music  compositions,  including  the  details  of  major,  minor, 
and  chromatic  scales,  key  signatures,  intervals,  note  values,  time  sig- 
natures, measures,  tempo  indications,  marks  of  expression,  marks  of 
interpretation,  etc.  The  committee  urges  that  this  study  be  conducted 
in  connection  with  the  consideration  of  actual  music  and  not  as  a 
formal  memorizing  of  characters,  signs,  and  terms. 

(b)  Harmony. — Inasmuch  as  this  subject  demands  primarily  quick 
and  sensitive  perception  and  retentive  memory,  it  is  especially  appro- 
priate to  the  ninth  and  tenth  years,  though  it  could  well  be  substi- 
tuted for  music  appreciation  in  the  last  two  years.  The  requisite 
talent  for  its  study  is  not  so  great  nor  so  rare  as  common^  supposed, 
but  as  interest  in  music  is  necessary  it  should  be  made  an  elective 
study. 


MUSIC   IN    SECONDARY   SCHOOLS.  27 

An  academic  presentation  of  the  subject,  such  as  that  found  in 
almost,  all  the  older  textbooks,  is  to  be  heartily  condemned.  The  fol- 
lowing features  should  be  invariable: 

(i)  Ear  training,  carried  throughout  and  at  appropriate  stages  in- 
volving aural  recognition  of  any  interval,  any  triad  as  major,  minor, 
diminished  or  augmented,  any  seventh  chord  (as  to  its  intervals),  of 
any  tone  and  of  any  chord  as  to  its  scale  relations,  of  any  chord  pro- 
gression, or  any  modulation  as  to  its  harmonic  procedure  and  the 
keys  involved,  of  organ  points,  suspensions,  anticipation;  in  short, 
involving  aural  recognition  of  all  the  harmonic  material  learned  and 
used  through  the  eye  and  symbols  of  notation. 

(ii)  Instruction  in  the  principles  of  melody  writing;  tendencies  of 
melodic  tones,  melodic  contour,  motivatior,  the  phrase,  the  process 
of  coherent  musical  thought,  the  period. 

(iii)  Harmonization  of  melodies  (original  or  given)  rather  than 
harmonization  of  figured  basses.  (Thorough  bass  should  be  taught, 
but  should  constitute  only  a  small  part  of  the  practice.) 

(iv)  Harmonic  analysis  as  revealing  accepted  musical  usage  by 
composers  of  the  chord  material  presented. 

(v)  Freedom  and  musical  proficiency  in  the  use  of  harmonic  ma- 
terial. Every  harmonic  factor  is  like  a  new  word  in  the  student's 
vocabulary  and  is  to  be  used  by  him  in  constructing  numerous  musi- 
cal sentences  until  he  is  familiar  with  all  of  its  merits,  powers,  and 
special  qualities. 

(vi)  Free  composition  for  the  development  of  self  expression 
through  music,  the  criticisms  of  these  efforts  being  directed  rather  to 
their  success  in  fulfilling  the  student's  intentions  than  to  the  details 
of  technical  accuracy  except  in  those  points  which  have  already  been 
studied  in  the  class  work. 

At  least  two  periods  a  week  for  two  years  should  be  given  to  the 
subject.  In  the  first  year  the  pupil  should  review  the  elements  of 
music  theory  and  should  study  the  primary  triads,  in  major  and 
minor,  in  the  various  ways  suggested.  In  the  second  year  the  study 
should  be  carried  forward  to  a  knowledge  of  secondary  chords  of  the 
seventh  and  general  information  regarding  the  harmonic  structure 
of  music  of  the  type  of  Mendelssohn's  Songs  Without  Words. 

In  large  high  schools,  or  schools  in  which  instruction  in  music  is 
better  developed,  it  is  quite  possible  and  advisable  to  carry  the  study 
forward  to  the  point  of  original  work  with  the  inharmonic  elements 
mentioned  in  paragraph  (a)  above,  and  with  all  the  ordinary  usages 
of  classical  harmonists.  This  may  be  done  by  adding  a  third  year 
to  the  course,  or  by  giving  it  five  periods  per  week  for  two  years.  For 
the  shorter  course  some  schools  prefer  to  schedule  the  class  for  five 
periods  a  week  during  one  year. 


28  MUSIC   IN   SECONDARY   SCHOOLS. 

A  course  in  harmony  in  the  high  schools  should  have  cultural  as 
well  as  vocational  value.  The  course  should  aim  primarily  to  estab- 
lish correct  habits  of  musical  thought.  Properly  conducted,  the 
harmony  course  should  materially  shorten  the  pupil's  professional 
training  after  leaving  the  high  school. 

(r)  Counterpoint. — This  branch  must  be  considered  as  an  ex- 
ceptional offering,  possible  only  under  especially  favorable  condi- 
tions, unless  included  under  harmony.  Three  suggestions  are  offered 
as  to  its  organization  in  a  course  and  these  are  in  what  is  believed 
to  be  their  order  of  merit : 

First.  It  may  be  included  under  harmony  in  a  two  years'  course, 
following  the  methods  that  seek  to  combine  these  two  aspects  of  tonal 
organization. 

Second.  It  may  be  included  in  a  four  years'  course  in  contrapuntal 
harmony  and  composition,  after  this  same  method  of  combination. 

Third.  It  may  follow,  as  a  separate  two  years'  course,  the  two 
years  of  harmony  above  advised. 

6.   APPLIED  MUSIC,  OR  SCHOOL  CREDIT  FOR  OUTSIDE  WORK. 

Although  a  number  of  high  schools  are  now  offering  courses  in 
applied  music,  that  is,  voice,  piano,  violin,  and  sometimes  even  other 
instruments,  on  the  same  basis  as  the  other  subjects,  the  general 
adoption  of  this  plan  can  not  reasonably  be  expected  for  some  time 
to  come,  if  it  ever  becomes  feasible. 

It  is,  therefore,  recommended  that  study  of  voice,  piano,  organ, 
violin,  or  any  orchestral  instrument,  under  special  teachers  outside 
of  school,  when  seriously  undertaken  and  properly  examined  and 
certified,  shall  receive  regular  credit  toward  graduation.  This  rec- 
ommendation is  based  upon  the  following  considerations: 

(i)  The  proficiency  gained  in  singing  or  playing  by  many  boys 
and  girls  during  the  high-school  period  proves  to  be  of  great  value 
to  them  in  later  life. 

( i  i )  Notwithstanding  that  most  adults  believe  it  desirable  for  young 
people  to  learn  to  sing  or  to  play  an  instrument,  a  severe  handicap 
is  put  upon  them  by  the  necessity  of  attending,  at  the  same  time,  to 
the  demands  of  their  school  work;  and  many  pupils,  including  even 
a  number  who  expect  to  be  musicians,  abandon  or  neglect  music  dur- 
ing their  high-school  years,  when  the  greatest  progress  can  and 
should  be  made,  rather  than  jeopardize  their  prospect  of  a  diploma. 

(iii)  We  regard  as  untenable  the  assumption,  expressed  or  implied, 
that  any  individual  would  be  uneducated  if  he  pursued  three  or  four 
regular  studies  per  year  and  added  music  to  these,  but  would  be 
educated  if  lie  pursued  four  or  five  studies  each  year  and  dropped 
music. 

(iv)  We  believe  that  this  untenable  assumption  is  (hie  not  to  any 
active  consideration  of  the  question  as  to  the  place  of  music  in  an 


MUSIC   m  SECONDARY   SCHOOLS.  29 

educational  plan,  but  rather  to  a  passive  acceptance  of  traditional 
academic  standards  that  are  now  outgrown  and  should  be  abandoned. 

The  plans  by  which  such  credits  may  be  offered  must  be  based  upon 
the  following  considerations:  The  work  of  a  pupil  in  applied  music 
must  be  of  a  quality  and  standard  that  the  school  can  conscientiously 
accept  as  equal  to  the  standards  maintained  in  the  other  studies 
pursued  in  the  school.  To  this  end  it  is  necessary  to  be  sure  that  the 
private  teacher  is  qualified  to  do  his  work  acceptably,  and  that  the 
student  is  faithfully  carrying  out  the  lessons  of  his  instructor.  It 
must  be  ascertained  further  that  the  pupil  has  sufficient  musical 
ability  to  warrant  his  spending  the  energy  and  time  involved,  and 
that  he  practices  faithfully  and  diligently.  The  course  pursued  by 
the  private  teacher  must  be  outlined  with  sufficient  clearness  to  en- 
able the  school  officials  to  recognize  it  as  having  definite  plan  and 
purpose. 

These  considerations  may  be  put  into  effect  by  the  school,  as  fol- 
lows :  The  qualifications  of  the  private  teacher  may  be  determined  in 
two  ways — by  some  plan  of  certification  of  teachers  or  by  an  exami- 
nation of  the  pupils.  Many  cities  are  now  studying  this  problem 
and  are  adopting  one  or  the  other  of  these  two  methods.  The  diffi- 
culty in  certification  lies  in  establishing  some  recognized  authority 
which  may  determine  the  fitness  of  the  teacher  and  confer  the  cer- 
tification. In  one  city  it  is  required  that  every  teacher  in  the  high 
school  must  be  a  graduate  of  a  high  school  and  of  a  college,  and 
must  have  had  two  years'  previous  experience  in  teaching.  The 
same  rule  applies  to  the  private  music  teacher.  He  must  be  a  high- 
school  graduate,  must  have  graduated  from  a  school  of  music  equiva- 
lent to  college,  and  must  have  had  two  years'  experience  as  a  teacher 
before  his  work  can  be  credited  in  the  high  school.  In  other  places 
the  supervisor  is  called  upon  to  determine  the  certification  of  the 
private  teacher,  though  this  plan  is  one  that  has  objectionable  fea- 
tures. A  large  number  of  cities  have  found  the  plan  of  examining 
the  pupil  the  most  practicable  for  determining  the  standard  of  work 
done  by  the  private  teacher.  These  examinations,  obviously,  must 
be  conducted  in  such  a  manner  as  to  remove  all  suggestion  of  bias  on 
the  part  of  the  examiners.  In  some  cities  the  music  instructor  in  the 
high  school  acts  as  the  examiner;  though  this  plan  can  hardly  be 
recommended  for  general  practice.  In  other  places  the  examina- 
tions are  conducted  by  some  authoritative  musician  who  is  in  no  wise 
connected  with  the  musical  life  of  the  city  where  the  examination  is 
given.  A  third  plan  is  the  appointment  of  a  committee  of  leading 
musicians  in  the  community,  including  the  instructor  in  music  in 
the  high  school,  who  conduct  their  work  in  such  a  manner  that  the 
examiners  do  not  see  the  pupil  who  is  being  examined,  nor  do  they 


SO  MUSIC   IX   SECONDARY   SCHOOLS. 

know  the  name  of  the  pupil  or  of  his  private  teacher.  In  some  cities 
the  examination  fees  must  be  paid  by  the  parents,  who  may,  with 
some  reason,  be  expected  to  bear  this  expense  because  of  the  advan- 
tage that  the  credit  plan  holds  for  the  pupil.  In  other  places  the 
school  pays  the  examination  fee,  which  also  seems  reasonable,  as  this 
work  takes  the  place  of  other  work  for  which  the  school  pays  for 
instruction  at  a  far  higher  cost  per  pupil. 

It  may  be  that  a  combination  of  the  two  plans,  the  certification  of 
the  private  teacher  and  the  examination  of  the  pupil,  will  eventually 
be  adopted  as  the  most  satisfactory.  Granting  high-school  credit  for 
outside  music  study  under  any  well-organized  plan  will  surely  tend 
toward  the  elimination  of  unfit  music  teachers  and  the  elevation  of 
standards  of  music  instruction. 

Another  important  consideration  in  the  plan  of  examination  is 
that  the  requirements  should  be  based  upon  the  work  done  by  the 
teacher  instead  of  work  arbitrarily  selected  by  the  examiner.  In- 
struction in  no  branch  in  applied  music  has  as  yet  been  sufficiently 
standardized  to  require  that  every  teacher  follow  the  same  plan  of 
work."  If,  therefore,  the  examiner  finds  that  the  pupils  are  doing 
work  of  a  character  acceptable  to  t'he  school,  under  a  well-organized 
plan  of  instruction,  he  should  give  credit  to  the  pupil. 

In  order  to  carry  out  this  plan  the  following  slightly  modified  out- 
line of  a  credit  plan  already  successfully  operated  for  several  years 
is  offered: 

VI.  A   PLAN   FOR  CREDITING   OUTSIDE   STUDY   IN   MUSIC   UNDER 

PRIVATE  INSTRUCTION. 

1.     THE  PUPIL. 

(a)  Application  for  admission  must  be  made  by  parent  or  guard- 
ian. The  application  must  be  accompanied  by  written  recommenda- 
tion from  private  teacher.  The  presentation  of  application  and 
recommendation  must  be  regarded  as  an  acceptance  of  all  the  condi- 
tions and  requirements  of  this  course.  The  pupil  must  also  secure. 
permission  of  the  high-school  principal  and  the  instructor  in  music 
before  being  eligible  to  the  course. 

(h)  No  pupil  should  be  accepted  who  is  taking  less  than  one  les- 
son a  week  and  practicing  less  than  one  period  daily.  Parents  or 
guardians  agree  to  oversee  the  regular  preparation  of  the  lessons. 

{(■)  Pupils  should  be  enrolled  in  the  course  in  theory  of  music  and 
in  the  course  in  music  appreciation,  or  should  do  outside  theoretical 
work  which  is  accepted  by  the  instructor  in  music  as  equal  in  educa- 
tional value,  though  not-  necessarily  identical  in  nature,  with  that 
done  in  t'he  corresponding  time  in  the  high  school.    Outside  theoreti- 


MUSIC    IN    SECONDARY    SCHOOLS.  31 

cal  work  should  be  required  by  schools  which  do  not  offer  these 
courses. 

2.    THE  PRIVATE  TEACHER. 

(a)  The  teacher's  recommendation  must  include  details  as  to  the 
pupil's  previous  study  (time,  compositions,  etc.)  and  as  to  his  attain- 
ment in  technical  work  and  in  sight  reading.  It  must  also  specify 
which  one  of  the  seven  grades  of  proficiency  the  pupil  is  qualified 
to  enter. 

(6)  From  time  to  time,  as  required  by  the  high  school,  the  pri- 
vate teacher  must  submit  a  report  of  the  work  done  by  the  pupil. 
These  reports  must  cover  the  following  points: 

1.  Number  of  lessons  taken. 

2.  Average  number  of  hours'  practice  a  week. 

3.  Technical  progress  made  by  pupil  since  preceding  report.     A 

detailed  statement  is  desirable. 

4.  List  of  compositions  studied  by  the  pupil,  with  remarks  con- 

cerning the  scope  and  quality  of  work  done  on  each  compo- 
sition. The  compositions  listed  must  invariably  conform 
to  the  grade  of  proficiency  under  which  the  pupil  is  en- 
tered. 

5.  A  mark,  on  the  plan  used  in  the  high  school,  showing  the 

teacher's  estimate  of  the  standing  and  progress  of  the  pupil. 

(c)  The  teacher's  reports  should  be  delivered  in  duplicate,  one 
copy  signed,  the  other  unsigned.  The  high  school  should  provide 
blanks  for  these  reports. 

(d)  In  order  to  avoid  the  possibility  of  accepting  a  pupil  for 
credit  in  applied  music  only  to  discover  through  the  examination 
at  the  end  of  the  semester  or  the  end  of  the  year  that  the  course 
pursued  by  the  private  teacher  was  not  acceptable,  some  cities  have 
instituted  the  practice  of  submitting  the  private  teachers  applica- 
tion for  admission  of  pupil  to  the  course  (unsigned  copy)  to  a  com- 
mittee of  musicians  for  their  judgment.  Any  shortcomings  in  the 
statement  of  the  teacher,  either  in  regard  to  plan  of  study  or  ma- 
terial, with  suggestions  for  bringing  the  course  up  to  the  school 
standard  are  reported  in  writing  to  the  principal  of  the  high  school, 
who  forwards  the  same  to  the  teacher  and  parent. 

3.   EXAMINATION. 

(a)  An  annual,  or  semiannual,  examination  should  be  held,  the 
examiners  to  be  appointed  by  the  school  committee. 

(5)  The  examiners  should  study  the  unsigned  copies  of  the  pri- 
vate teachers'  reports  in  forming  their  estimates  of  the  pupils' 
grades.  Standard  examination  requirements,  definitely  stated  for 
each  grade  of  proficiency,  may  be  prescribed  for  all  pupils,  or  the 


32  MUSIC   IN   SECONDARY   SCHOOLS. 

examiners  may  plan  the  examination  requirements  for  each  pupil 
on  the  basis  of  his  private  teacher's  reports  (unsigned  copies).  In 
the  latter  case  it  is  assumed  that  these  reports  have  consistently 
given  satisfactory  evidence  of  the  maintenance  of  accepted  stand- 
ards. 

(c)  The  examiners  should  mark  the  pupil  according  to  the  plan 
used  in  the  high  school.  The  examiners'  mark  should  go  on  the 
pupil's  annual  report  and  should  count  the  same  as  marks  in  other 
subjects  toward  the  promotion  and  graduation  of  the  pupil. 

(d)  The  expense  of  these  examinations  is  borne  by  the  school  (or 
parent  or  guardian,  as  may  be  determined). 

(e)  The  list  of  seven  grades  of  examination  requirements  should 
be  handed  the  private  teacher  when  application  is  made  for  admis- 
sion of  the  pupil  in  case  standard  examination  requirements  are 
prescribed.  The  teacher  should  determine  which  of  these  grades 
the  pupil  will  undertake  for  the  first  year's  work,  and  the  pupil  at 
the  end  of  the  year  should  be  examined  upon  the  problems  offered 
for  that  grade  of  work.  The  following  year  the  pupil  should  be 
expected  to  cover  the  ground  of  the  next  grade,  and  to  cover  the 
work  of  a  grade  each  subsequent  year,  except  in  the  sixth  and 
seventh  grades.  As  these  grades  represent  work  of  an  extremely 
advanced  character,  grade  six  may  be  allowed  two  years  for  com- 
pletion, and  grade  seven  three  or  even  four  years. 

VII.  CREDITS   FOR  MUSIC  IN  SECONDARY  SCHOOLS. 

The  question  of  high-school  credits  for  music  study  involves  many 
perplexing  features.  On  the  whole,  however,  it  would  seem  that 
music  study  should  receive  credit  on  the  same  basis  as  the  other 
high-school  studies.  The  following  statement  is  quoted  from  the 
report  of  the  high-school  committee  of  the  Music  Supervisors'  Na- 
tional Conference,  held  in  St.  Louis  in  1912 : 

I.  All  study  of  music,  or  exercise  in  music,  undertaken  by  any  high  school 
as  part  of  the  scholastic  routine  shall  be  credited  by  that  school. 

II.  The  amount  of  credit  so  granted  shall  be  equal  in  every  case,  hour  for 
hour,  to  that  granted  by  tiie  same  school  for  any  other  subject,  with  this 
following  qualification : 

III.  All  subjects,  musical  or  otherwise,  are  understood  in  this  report  to  be 
on  a  basis  of  double  or  single  credit,  accordingly  as  they  do  or  do  not  necessi- 
tate a  period  of  study  in  preparation  for  each  period  of  recitation.  Thus,  as 
applied  to  music,  chorus  practice,  which  requires  no  preparation,  would  receive 
equal  credit  with  drawing  which  requires  none.  On  the  other  hand,  each 
recitation  hour  in  harmony  should  receive  double  the  credit  of  each  chorus 
recitation  hour,  inasmuch  as  harmony  requires  preparatory  study  that  can 
be  certified;  and  again,  harmony  should  be  credited  hour  for  hour  of  sched- 
uled recitation,  equally  with  mathematics  or  any  subject  similarly  requiring 
outside  study. 


MUSIC    IN    SECONDARY    SCHOOLS. 


33 


The  foregoing  suggestions  form  the  basis  for  the  credit  recom- 
mendations made  in  the  outlines  of  music  courses  following: 


Time  Allotments  and  Credit  Based  Thereon. 
minimum  recommended  for  four- year  high  schools. 


Freshman. 

Sophomore. 

Music  courses. 

Periods  per  week. 

Units. 

Periods  per  week. 

Prepared. 

Unpre- 
pared. 

Prepared. 

Unpre- 
pared. 

Units. 

2 

1/5 

2/5 
1/10 
1/5 

2/5 

2/5  to  1 

2 

1/5 

2 

2 

2/5 

1 

1 

1/10 

2 
1  or  2 

2  5 

Theory  of  music,  (harmony  and  counter- 

2 

1  or  2 

2/5 

Applied  music,  or  school  credit  for  outside 

'2/5  to  1 

Junior. 

Senior. 

Music  courses. 

Periods  per  week. 

Units. 

Periods  per  week. 

Units. 

Total 
units. 

Prepared. 

Unpre- 
pared. 

Prepared. 

Unpre- 
pared. 

2 

1/5 
2/5 

J;  10 

2/5 

2/5 

2/5  to  1 

2 

1/5 
2/5 
1/10 
2/5 

2/5 

2/5  to  1 

4/5 

2 

2 

8/5 

1 

1 

2/5 

2 

2 

lor  2 

2 

2 

lor  2 

Theory  of  music  (harmony  and 

8 '5 

Applied  music,  or  school  credit 

8/5  to  4 

Remarks: 

(1)  Orchestra:  One  period  of  double  length  is  preferable  to  two  single  periods.    It  should  generally  be 

conducted  after  regular  school  hours. 

(2)  Glee  clubs:  The  desirability  of  granting  credit  for  glee-club  work  is  discussed  on  page  23. 

(3)  Theory  of  music:  This  subject  ordinarily  should  not  be  offered  until  the  ninth  grade. 

(4)  Applied  music:  The  amount   of  credit  recommended  is   based   on  the  fact  that  preparation 

involves  more  time  proportionately  than  for  any  other  subject. 
The  committee  recommends  that  the  time  allotment  for  music  appreciation  and  theory  of  music  be 
increased  whenever  feasible  to  five  prepared  periods  per  week  with  corresponding  credit. 

MINIMUM  RECOMMENDED  FOR  JUNIOR  HIGH  SCHOOLS. 


Seventh  year. 

Eighth  year. 

Ninth  year. 

Music  courses. 

Periods 
per  week. 

Years' 
credit. 

Periods 
per  week. 

Years5 
credit. 

Periods 

per  week. 

Years' 
credit. 

Total  years' 

credit  for 

junior 

Pre- 
pared. 

Unpre- 
pared. 

Pre- 
pared. 

Unpre- 
pared. 

Pre-    Unpre- 
pared, pared. 

2 
2 

1/5 
2/5 
1/10 
1/5 

2 

2 

i" 

2 

1/5 
2/5 
1/10 
1/5 

2 

1/5 
2/5 
1/10 
1/5 
2/5 

2/5  to  1 

3/5 

2 

2 
...„. 

lor  2 

...... 

2 

6/5 
3/10 

3/5 

2/5 

6/5  to  3 

Applied  music,  or  school 
credit  for  outside  work . 

lor  2 

2/5  to  1 

lor  2 

2/5  to  1 

34 


MUSIC   IN    SECONDARY   SCHOOLS. 
MINIMUM  RECOMMENDED  FOR  SENIOR  HIGH  SCHOOLS. 


Tenth  year. 

Eleventh  year. 

Twelfth  year. 

Music  courses. 

Periods  per 
week. 

Units. 

Periods  per 
week. 

Units. 

Periods  per 

week. 

Units. 

Total  units 

for  senior 

high 

school. 

Pre- 
pared. 

Unpre- 
pared. 

Pre- 
pared. 

Unpre- 
pared. 

Pre- 
pared. 

Unpre- 
pared. 

2 
....... 

1/5 
2/5 
1/10 
2/5 
2/5 

2/5  to  1 

2 

2 

2 

lor  2 

2 

i' 

1/5 
2/5 
1/10 
2/5 
2/5 

2/5  to  1 

2~ 

2 

1  or  2 

2 

i" 

1/5 
2/5 
1/10 

2/5 
2/5 

2/5tol 

3/5 

2 

6/5 

3/10 

Music  appreciation 

2 
2 

lor  2 

6/5 
6/5 

Applied  music,  or  school 
credit  for  outside  work. 

6/5  to  3 

See  Remarks  on  preceding  page. 


VIII.  MUSIC  FOR  BOYS'   HIGH  SCHOOLS. 

All  the  courses  described  in  the  foregoing  pages  are  appropriate 
in  boys'  high  schools,  and  in  general  the  nature  of  the  courses  and 
their  distribution  throughout  the  high-school  years  should  remain 
the  same.  There  should  be  a  difference  in  comparative  emphasis 
upon  the  courses,  however,  and  the  nature  of  the  material  appropri- 
ate to  chorus  practice  should  necessarily  be  much  changed. 

The  high-school  band  (brass  or  military  band)  was  mentioned  on 
page  23.  In  high  schools  for  boys  this  kind  of  musical  organization 
may  meet  with  a  degree  of  favor  and  may  attain  a  point  of  develop- 
ment greatly  surpassing  anything  normally  probable  in  a  coeduca- 
tional high  school.  Orchestras  are  not  less  desirable  in  a  boys'  high 
school,  but  bands  in  such  schools  may  be  considered  as  coordinate 
with  orchestras.  All  that  was  said  in  description  and  in  commenda- 
tion of  orchestral  ensemble  is,  therefore,  applicable  to  band  practice. 

On  page  28,  under  "  Applied  Music,"  mention  was  made  of  the  fact 
that  some  high  schools  give  courses  in  the  specialized  study  of  piano, 
violin,  voice,  etc.  In  boys'  high  schools  class  instruction  in  various 
band  and  orchestral  instruments,  as  the  violin  and  the  strings  gener- 
ally, the  cornet  and  the  brasses  generally,  and  the  tlute,  clarinet,  oboe, 
and  other  wood- wind  instruments  will  frequently  meet  a  very  active 
interest  and  call  forth  a  large  response.  Such  courses  articulate 
naturally  with  the  band  and  orchestral  ensemble  advised,  and  satisfy 
the  boy's  desire  for  more  thorough  study,  which,  nevertheless,  he 
would  not  undertake  except  under  the  group  plan. 

No  additional  discussion  is  needed  here  of  the  theoretical  courses 
and  the  course  in  music  appreciation.  They  should  remain  the  same, 
in  all  essentials,  as  in  the  coeducational  high  school. 

Chorus  practice  presents  quite  new  aspects.  Its  distribution 
throughout  the  years  should  be  the  same  as  before  advised,  and  the 


MUSIC   IN"   SECONDARY   SCHOOLS.  35 

combinations  recommended  of  chorus  practice  with  elementary  the- 
ory, sight  singing,  and  musical  appreciation  should  stand  as  before, 
year  for  year.  The  selection  of  musical  material  for  practice,  how- 
ever, presents  some  difficulties. 

Chorus  groups  of  boys  that  contain  many  unchanged  voices  should 
use  music  written  for  first  and  second  treble  parts  and  bass,  or  music 
carefully  edited  with  a  view  to  adapting  it  to  the  capabilities  of  im- 
mature voices,  and  written  for  soprano,  alto,  tenor,  and  bass.  Such 
groups  will  ordinarily  be  found  in  the  seventh  and  eighth  years  of 
school  life  and  occasionally  in  the  ninth  year.  It  is  safe  to  say  that 
with  conscientious  and  expert  attention  to  the  nature  and  capabilities 
of  the  individual  voices,  part  singing  involving  a  part  for  bass  voices, 
one  or  more  parts  for  treble  voices,  and  perhaps  a  part  for  the  tenor 
or  alto-tenor  voice,  could  be  maintained  well  into  the  ninth  year. 
As  the  number  of  treble  voices  decreases  with  the  advance  in  years,  a 
number  of  unison  songs  of  limited  range  (c  to  c.  with  occasional 
tones  ranging  above  this  octave)  should  be  added;  and  in  the  last 
two  years  part  songs  for  male  voices  (changed  voices)  that  are  easy 
as  to  vocal  demands  can  well  be  used.  The  unison  songs  should  pref- 
erably be  written  on  the  bass  clef,  in  recognition  of  the  preponder- 
ance of  bass  voices,  and  the  smaller  group  of  treble  voices  will  sing 
them  an  octave  higher. 

The  individual  vocal  characteristics  and  capabilities  of  boys  be- 
longing in  the  same  year  in  the  same  high  school  are  very  diverse. 
The  years,  too,  bring  constant  changes ;  and  the  voices  of  pupils  in  a 
certain  year  of  one  high  school  are  often  not  matched  by  the  voices 
of  pupils  of  a  corresponding  year  in  another  high  school.  This  does 
not  mean  that  good  singing  is  not  possible,  but  it  does  mean  that 
definite  recommendations  can  not  be  made  to  schools  in  general.  In- 
stead each  instructor  must  study  the  voices  of  his  student  and  adopt 
plans  of  chorus  grouping  that  recognize  vocal  characteristics  and 
capabilities  as  far  as  possible.  Music  should  be  chosen,  so  far  as  it 
can  be  found,  that  is  adapted  to  the  various  groups. 

The  best  music  available  at  present  for  the  diverse  demands  arising 
in  any  one  school  is  probably  that  contained  in  books  designed  for 
seventh  and  eighth  year  music  classes  and  for  junior  high  schools. 
If  these  books  are  designed  for  assembly  singing,  they  are  likely  to  be 
still  more  desirable  for  use  in  a  boys'  high  school.  Usually  they 
present  a  wide  variety  of  vocal  arrangements,  including  two-part  and 
three-part  songs  for  treble  voices  only,  songs  for  one  treble  and  one 
bass  part,  two  treble  parts  and  bass,  three  treble  parts  and  bass,  four 
parts  mixed  voices,  unison  songs  on  bass  clef  and  unison  songs  on  the 
treble  clef.  Any  of  these  arrangements  is  likely  to  be  needed  at  some 
time  for  some  chorus  group  in  a  boys'  high  school.    Part  songs  for 


36  MUSIC   m   SECONDARY   SCHOOLS. 

male  voices  alone  are  lacking  in  these  books,  or  are  quite  insufficient 
in  number.  Unfortunately  the  right  type  of  such  songs  is  not  avail- 
able elsewhere,  except  for  an  occasional  isolated  piece ;  for  part  songs 
for  male  voices  are  almost  invariably  written  for  four  parts,  with  the 
result  that  the  first  tenor  is  forced  too  high  and  the  second  bass  is 
forced  too  low.  Only  about  one  out  of  a  hundred  of  such  songs  is 
suitable  for  use  even  in  the  upper  years  of  a  boys'  high  school. 

IX.  MUSIC  FOR  GIRLS'   HIGH   SCHOOLS. 

As  the  boys'  high  school  usually  proves  a  fertile  field  for  the  de- 
velopment of  instrumental  ensembles,  so  the  girls'  high  school  is 
favorable  to  the  development  of  vocal  ensembles.  There  is  a  perfect 
wealth  of  suitable  music  for  the  voices  in  all  the  high-school  years, 
and  chorus  results  of  striking  beauty  may  be  obtained.  The  voices 
have  still  to  be  carefully  guarded,  however,  and  two-part  and  three- 
part  music  should  constitute  almost  all  the  repertoire. 

The  crediting  of  outside  study  of  piano  and  other  instruments  and 
of  voice  should  be  an  invariable  and  an  important  feature  of  depart- 
mental music  work  in  every  girls'  high  school.  Musical  appreciation 
should  also  receive  especially  careful  attention. 

Orchestral  playing  should  be  encouraged  heartily,  notwithstand- 
ing that  the  instrumentation  is  likely  to  be  less  complete  in  a  girls' 
high  school  than  in  other  high  schools.  Most  of  the  orchestral  in- 
struments are  better  adapted  to  girls'  playing,  however,  than  is  gen- 
erally supposed;  and  for  the  sake  of  the  numerous  violin  players 
among  girls,  as  well  as  for  the  encouragement  and  instruction  of  the 
whole  school  in  orchestral  playing,  the  organization  and  maintenance 
of  an  orchestra  should  be  provided  for. 

The  distribution  of  courses  throughout  the  high-school  years 
should  be  in  all  essentials  the  same  as  in  the  coeducational  school. 

X,  THE  HIGH  SCHOOL  AS  A  CENTER  FOR  COMMUNITY  MUSIC. 

Music  in  the  high  school  articulates  with  the  advanced  musical 
interests  and  activities  in  the  community  outside  the  school.  But 
the  school  system,  through  the  high  school  particularly,  may  well  go 
further  and  hclo  to  develop  music  directly  in  the  outside  community. 
No  community  use  of  any  school  building  is  more  appropriate,  feas- 
ible, and  productive  of  good  results  than  the  use  of  the  high-school 
building  as  a  community  music  center. 

Nearly  every  high  school  has  a  comfortable  auditorium.  The  sur- 
roundings are  dignified  and  in  keeping  with  any  educational  or 
cultural  effort  which  the  people  of  a  community  may  wish  to  under- 
take.   A  piano  is  usually  installed,  ready  for  use.     The  high-school 


MUSIC    IN    SECONDARY    SCHOOLS.  37 

orchestra  turns  the  thought  of  many  ejjbiserte  iow:trd  music,  and 
toward  music  in  connection  with  the  high  school.  The  high-school 
chorus  develops  an  interest  in  chorus  singing  in  the  community.  The 
courses  in  harmony  and  musical  appreciation  do  their  full  part  in 
raising  musical  standards  and  developing  musical  knowledge.  The 
high-school  teacher  of  music  is,  by  the  terms  of  his  position,  a  con- 
ductor of  choruses  and  orchestras;  and  his  interests  are  all  in  the 
direction  of  the  democratization  of  music,  for  always  his  thought  and 
daily  effort  are  centered  on  the  group. 

The  school  officers  should  call  the  attention  of  the  community  to 
the  opportunity  that  is  at  hand  to  use  the  school  plant  and  all  its 
facilities  in  the  interest  of  the  most  social  of  the  arts.  The  school 
should  provide  the  conductor,  in  the  person  of  the  high-school  teacher, 
for  choruses  and  orchestras  which  would  joyously  and  earnestly  set 
cut  upon  a  quest  for  further  musical  riches.  In  doing  this,  and  much 
more  as  the  movement  gains  strength,  the  school  should  not  regard 
itself  as  a  benefactor;  it  will  rather  find  itself  a  beneficiary.  In 
nignified  repute  among  the  citizens,  in  respect  from  its  students,  in 
power  willingly  accorded  it  by  its  constituency,  and  in  breadth  and 
clarity  of  its  own  vision,  it  will  gain  greatly  by  undertaking  this 
service  of  fostering  the  timorous  art  ideals  of  its  community  and 
developing  community- wide  musical  expression. 


REPORTS    OF    THE    COMMISSION    ON    THE    REORGANIZATION    OF 
SECONDARY  EDUCATION. 

The  following  reports  of  the  Commission  on  the  Reorganization  of  Second- 
ary education  have  now  been  issued  as  bulletins  of  the  United  States  Bureau  of 
Education  and  may  be  secured  of  the  Superintendent  of  Documents,  Washing- 
ton, D.  C,  at  the  prices  indicated.  Other  reports  are  in  preparation.  Re- 
mittance should  be  made  in  coin  or  money  order,  as  stamps  are  not  accepted : 
The    Teaching    of    Community    Civics,    Education    Bulletin    23    for    1915, 

10  cents. 
Social   Studies  in  Secondary  Education,  Education  Bulletin  28  for  1916, 

10  cents. 
Reorganization   of   English   in    Secondary    Schools,   Education   Bulletin   2 

for  1917,  20  cents.     . 
Music  in  Secondary  Schools,  Education  Bulletin  49  for  1917. 
Physical    Education    in    Secondary    Schools,    Education    Bulletin    50    for 

1917. 
Moral  Values  in  Secondary  Education,  Education  Bulletin  51  for  1917. 


14  DAY  USE 

RETURN  TO  DESK  FROM 


ROWED 


This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 


7  DAY  USE 
SUMMER 


OCT 


ZAfflL^, 


tftt 


M- 


LD  21-50m-8,'57 
(,C8481sl0)476 


General  Library 

University  of  California 

Berkeley 


